o^   I77S 


I 


ffe*.  HT.    Memory 


FROM    THE    LIBRARY    OF 


REV.    LOUIS    FITZGERALD    BENSON.   D    D 


BEQUEATHED    BY    HIM    TO 
THE    LIBRARY   OF 


PRINCETON   THEOLOGICAL   SEMINARY 


INI    U  W   IU 


VOL.  XXVI  SEPTEMBER,  1915  NO.  3 


IRecorbs 

or  tbe 

American  Catljalic 
Jjtatartcrtl  jStowti) 

of 

Philadelphia 

WITH  WHICH  IS  COMBINED 

AMERICAN  CATHOLIC  HISTORICAL  RESEARCHES 


Published    Quarterly  by  the  Society 

Srauct  Strut.  Philadelphia 

Copyrighted.  1915 
American  Catholic  Historical  Soc; 

$2.00  PER  YEAR  SINGLE  NUMBER,  50  CENTS 


TABLE  OF  CONTENTS. 

PAGE 

Historical  Sketch  op  American  Catholic  Historical  Society.  185 

List  of  Present  Officers  and  Members  of  the  Society  ....  189 

A  Philadelphia  Choir  Book  of  1778. 208 

By  the  Rev.  H.T.  Henry,  Litt.D. 

-  -  ~r 

Prince  Gallitzin's  First  Visit  to  the  Allegheny  Mountains.    224 

Life  of  Bishop  Conwell.    Chapters  XVII  and  XVIII 227 

By  Martin  I.  J.  Griffin.     Edited  by  the  Rev.  Lemuel 
B.  Norton. 
Father  Peter   Helbron's  Greensburg,    Pa.,  Register.    First 

Series,  1799  to  1802 242 

Copied  from  the  original  book  by  the  Rev.  Father  John, 
O.S.B.    Translated  by  Lawrence  F.  Flick,  M.D.,  LL.D. 
Book  Reviews: 

Metlake:  Life  of  St.  Columban 264 

Mazzuchelli:  Memoirs  Historical  and  Edifying  of  a  Mis- 
sionary Apostolic 270 

Walsh:  The  Popes  and  Science 281 

Campbell:  Pioneer  Laymen  of  North  America 284 

Clinch:  California  and  Its  Missions 286 

A  History  of  the  United  States  for  Catholic  Schools.  .     288 


Entered  at  the  Philadelphia  Post-Office  for  transmission  through  the  mail  as  Second-Class  Matter. 


You  can  aid  the  American  Catholic  Historical  Society  in  its  work 


The 

Beneficial  Saving  Fund  Society 

OF  PHILADELPHIA 
1200  and  1202  Chestnut  Street 


Incorporated  April  20,  1853 


Interest 


Per  Annum 


ASSETS     .... 

DEPOSITS 

SURPLUS  .... 

NUMBER  OF  DEPOSITORS 


Seventeen  Million  Dollars 
Fifteen  and  a  Half  Million  Dollars 
One  and  a  Half  Million  Dollars 
Over  Fifteen  Thousand 


ACCOUNTS  OPENED  BY  MAIL 


IGNATIUS  J.     OHAN,  President. 

ANDREW  J.  KEEGAN,  Vice-President. 

ALFRED  J.  MURPHY,  Secretary  and  Treasurer. 
ANTHONY  A.  HIRST,  Esq.,  Solicitor. 


BOARD  OF  MANAGERS 


Alfred  J.  MlRPHV, 
Jeremiah  J 

ICNATK'S  J.  DOHAN, 

Charles  A.  McMa 

kl  Daily, 

IAN, 

A.  Leslie, 
■ 
William  V.  McGeath,  Jr. 


Walter  George  Smith, 
Anthony  A.  Hirst, 
Ignatius  J.  Horstmann, 
George  W.  Norris, 

HERTV, 
M.D, 

Andrew  J.  Keegan, 

William  P.  SlNNETT, 

abl  F.  Hanson. 


Jambs  M.  Kelley, 

Joseph  I 

Edward  J.  Dooner, 

Joseph  C.  Trainer, 

Hon.  Joseph  F.  Lamorellb, 

John  K.  Loneroan, 

m*s  Devlin, 
Hugh  McCaffrey. 


By  purchasing  from  Advertisers  in  the  Records. 


Records  of  the 
American  Catholic  Historical  Society 

Vol.  XXVI  September,  191 5  No.  3 


A   PHILADELPHIA  CHOIR   HOOK  OF  1787. 


1  he  library  of  the  American  Catholic  Historical  So- 
ciety is  the  fortunate  possessor  of  four  old-time  choir- 
books,  three  of  which  were  published  in  Philadelphia,  and 
the  fourth  in  I  Baltimore.  A  study  of  the  four  volumes 
throws  much  light  on  the  musical  apparatus  then  thought 
sufficient,  apparently,  for  the  needs  of  the  few  thousand 
Catholics  in  what  was  at  that  time  the  territory  of  the 
United  States  of  America.  I  have  found  the  study  of  these 
four  books  both  interesting  and  informing;  and  the  infor- 
mation given  by  them  I  have  found  at  times  pathetic,  at 
times  not  without  a  humorous  feature. 

The  earliest  of  the  four  is:  "  A  |  Compilation  of  the  |  Lit- 
anies and  |  Vespers  Hymns  |  And  Anthems  |  as  They  are 
Sung  in  the  |  Catholic  Church  |  Adapted  to  the  Vorce  or 
Organ  |  By  John  Aitken  |  Philadelphia.  1787."  The  vol- 
ume is  a  small  quarto  of  136  pages  of  engraved  music.  The 
title-page  is  handsomely  engraved.  Altogether,  the  volume 
presents  a  sumptuous  appearance  beyond  that  of  present- 
day  choir-books;  and  I  was  naturally  amazed  to  think  that 
this  elegant  volume  dates  back  to  the  year  1787 — only  four 
years  after  the  Treaty  of  Peace  (1783)  following  on  the 
War  of  the  Revolution.1 

The  enterprise  of  our  Catholic  forbears  in  Pennsylvania 
and  their  idea  of  the  proper  expense  they  should  bear 

1  In  that  year  of   17S7  the  Constitution  was  ratified  by  Pennsylvania. 

Delaware,  New  Jersey.     Eight  other  States  ratified  it  in  the  following 

year;  two  deferred  ratification  until  1780  and  1700  respectively.     Catho- 

then   only   about  25.000  in   number,   and   their   constitutional 

rights  were  nowhere  guaranteed;   for  the  ratification  of  the  Constitu- 

•i  only  in  the  Inst  month  of  t 7S7.  the  first  State  to  do  so  being 

r<      Dec  7.  '; 


A  Philadelphia  Choir  Book  of  ij8j  209 

the  minur  things  of  religious  services,  such  as  choir-books, 
is  to  me  astonishing,  when  I  look  over  the  pages  of  this 
early  volume. 

The  volume  is   interesting   from  the   standpoint  of   the 

bibliographer.     Finotti  has  no  mention  of  it  in  his  Biblio- 

graphia  Catholica  Americana,  a  work  which  he  spent  years 

artful  study  in  compiling  and  which  he  was  able  to 

bring  down,  in  his  published  volume,  to  the  year  1820. 

It  brings  before  us  the  name  of  the  Philadelphia  pub- 
lisher. John  Aitken.  to  whom  I  have  not  been  able  to  find 
any  reference  in  Scharf  &  Western's  History,  or  in  Young's 
Memorial  History  898).     Finotti  mentions  (page 

a  booklet  of  40  pages.  8vo,  published  in  Philadelphia 
by  Robert  Aitken  in  1784;  but  of  John  Aitken  he  makes  no 
mention.  In  Willis  P.  Hazard'--  revised  edition  of  Wat- 
son's Annals  of  Philadelphia  in  the  Olden  Time  (Vol. .Ill, 
p.  151  ).  however.  I  find  this:  "Blake  and  Willig  were 
among  the  earliest  music-publishers  in  Philadelphia.  Mr. 
Blake  died  nearly  one  hundred  years  of  age,  at  No.  13 
South  Fifth  Street.  Mr.  Blake  stated  that  Messrs.  Carr 
and  Shetkey  were  publishing  music  previous  to  1 800,  and 
that  John  Aitken  was  their  predecessor  for  several  years, 
at  No.  3  or  5  South  Third  Street."  Having  examined  the 
early  Philadelphia  Directories.  Mr.  James  Warrington 
writes  to  me  concerning  John  Aitken  :  "  He  appears  to  have 
been  a  silversmith  and  copperplate  printer,  and  apparently 
conducted  his  business  with  other  persons.  I  searched  the 
Directories  from  1791  to  1806.  Charles  Taws,  whose 
name  is  on  the  sheet  of  Adeste  Fideles  2  with  that  of  Aitken, 
appears  at  60  Walnut  St.,  up  to  and  including  1800,  but  in 
1 80 1  the  name  becomes  John  Taws.  Aitken' s  name  ap- 
pears at  various  places,  but  I  do  not  find  No.  y&  North  Sec- 

2  This  is  an  engraved  full-sized  music-sheet  appearing  doubtless  later 
than  1791,  as  Aitken  does  not  include  the  Adeste  in  his  "Compilation" 
for  Catholic  choirs,  either  in  the  1787  or  in  the  1791  edition. — H.  T.  H. 


-mo  American  Catholic  Historical  Society 

i.nd  until   i  So  i.  when  at  that  address  the  name  of  V.  Blanc, 
Coppersmith,  appears."    John  Aitken  was.  doubtless,  n 

Catholic,  as  he  issued  also  the   King   fames  version  of  the 
Bible. 

The  reverse  of  the  title-page  is  blank.  The  following 
page  hears  this  imprimatur:  "  Whereas  John  Aitken,  of  the 
City  of  Philadelphia,  hath  humbly  requested  an  Approba- 
tion of  the  Work  he  is  now  preparing  to  publish  at  his  own 
expence  (sic),  entitled  'A  Compilation  .  .  .  Adapted  to 
Voice  or  Organ  ' :  We,  desiring  to  encourage  an  Undertak- 
ing so  conducive  to  the  Decency  and  Solemnity  of  religious 
Worship,  do  hereto  set  our  names  in  Testimony  of  our  Ap- 
probation." Here  follow  the  names:  "  Revd.  John  Carroll. 
Revd.  Robert  Molyneux,  Revd.  Francis  Beeston,  Revd. 
Lawrence  Graessl.  Underneath,  the  Approbation  is  printed 
in  German,  with  the  names  of  the  four  signers  in 
German  also.  The  reverse  of  this  page  is  blank.  The  fol- 
lowing page  is  devoted  to  the  Contents,  headed  by  an  equi- 
valent of  copyright:  "I,  James  Riddle.  Prothonotary  of 
the  Court  of  Common  Pleas  of  Philadelphia  County,  do 
certify  that  John  Aitken  hath  entered  in  my  Office,  accord- 
ing to  the  Act  of  Assembly,  a  certain  book  published  by 
him.  entitled  "  .  .  .  "  containing  1 36  pages  in  quarto.  Wit- 
no-  my  hand,  this  8th  April.  1788. — James  Riddle,  Prot" 

The  next  fifteen  pages  are  devoted  to  "  A  Xew  Intro- 
duction to  the  Grounds  of  Music  ". 

These  bibliographical  details  are  not  without  interest,  in 
view  of  the  re-issue  of  the  volume,  very  much  changed  in 
fact,  although  not  in  general  appearance,  tour  year-  later. 
As  the  two  editions  agree  in  the  main  in  respect  of  their 
inclusions,  but  vary  much  in  respect  of  the  order  and  gen- 
eral arrangement  of  the  inclusions,  it  will  be  convenient  to 
place  numerals  before  the  [787  inclusions  for  the  purpose 
1  >f  easy  comparis<  m. 


A   Philadelphia  Choir  Book  of  ijSj  21 1 

The  1787  Edition. 

1  (page  16)  :  We  have  first  of  all.  then,  "  The  Christmas 
Hymn  "  : 

"  Whilst  Angels  to  the  world  proclaim 

The  birth  of  Christ  our  King, 
To  magnify  his  sacred  name. 

We'll  joyful  anthems  sing. 
The  watchful  shepherds,  seized  with  fear 

At  radiant  light  divine. 
When  they  the  happy  tidings  hear. 

Their  allelujahs  join." 

In  this  quotation  and  in  all  «»thcr>   (except  where  1  n  >te 

differently)  that  I  shall  make.  I  have  modernized  the  spell- 
ing and  capitalization,  as  also  the  punctuation  (  whose  care- 
lessness  is,  in  engraved  music,  quite  a  feature,  even  at  the 
present  day.  of  hymnals). 

The  harmonization  of  this  hymn,  as  indeed  of  all  the  in- 
dusions  in  general  of  the  volume,  is  in  two  parts  (air  and 
bass). 

2  (p.  17)  :  "  The  Litany  of  Loretto  in  Latin"  [two  set- 
ting^. 

2  1  p.   1S1  :  The  same,  in  three  settings. 

3  (pp.  19,  20)  :  Various  versicles  and  responses. 

4  (pp.  21-2^  1  :  Vespers  for  Sundays. 

5  (p.  24)  :  "  Lucis  Creator  "  |  only  one  stanza,  in  English 
verse)  : 

"  O  Great  Creator  of  the  Light. 
Who  from  the  darksome  womb  of  night 
Brought  forth  new  light  at  nature's  birth 
To  shine  upon  the  face  of  earth." 


6  (p.  25)  : 


Sing  ye  praises  to  the  Lord,  allelujah, 
Bless  his  name  with  one  accord,  allelujah; 
For  it's  owing  to  his  care,  allelujah, 
What  we  have  and  what  we  are.  allelujah." 


212  American  Catholic  Historical  Society 

-   (p.   24)  :  "  Psalmus  L  "   [only  the  first  verse  of  the 
Miserere,  in  English]. 

8  (p.  26)  :  "  Salve  Regina  ": 

"  Hail  to  the  Queen  who  reigns  above, 
Mother  of  clemency  and  love, 
Hail  thou,  our  hope,  life,  sweetness,  we 
Eve's  banished  children  cry  to  thee. 

"  We  from  this  wretched  vale  of  tears 
Send  sighs  and  groans  unto  thy  ears; 
Oh,  then,  sweet  Advocate,  bestow 
A  pitying  look  on  us  below. 

"  After  this  exile,  let  us  see 
Our  blessed  Jesus,  born  of  thee. 
O  merciful,  O  pious  Maid, 
O  gracious  Mary,  lend  thine  aid."' 

9  (p.  27):  "Psalm  CIV.": 

"  My  soul,  thy  great  Creator  praise 
When  clothed  in  his  celestial  rays 
He  in  full  majesty  appears 
And  like  a  robe  his  glory  wears. 

{Chorus) :    "  Great  is  the  Lord  :  what  tongue  can  frame 
An  equal  honor  to  his  name?" 

10  (p.    28)  :   "  The   Hymn   at   Benediction  "    [the  two 
stanzas  of  the  Tantum  ergo]. 

11  (p.  29)  :  "  The  Easter  Hymn  "  [a  translation  of  "  O 
Filii  et  Filiae  "]  : 

"  Young  men  and  maids,  your  praises  join; 
The  glorious  king,  your  king  divine 
This  day  triumphant  left  his  shrine. 
Allelujah. 

"  Ere  light  appeared  on  Sabbath  day 
The  disciples  without  delay 
Approached  the  tomb  wherein  he  lay. 
Allelujah. 

"  And    Magdalene  in   company 
With  Mary  of  James  and  Salome 
T  anoint  the  corpse  came  purposely. 
Allelujah. 


A  Philadelphia  Choir  Book  of  i?8j  213 

"  An  Angel  clothed  in  white  array 
Sitting  therein  to  them  did  say : 
The  Lord's  in  Galilee  this  day. 

Allelujah. 

"  The  dear  beloved  Apostle  John 
Much  swifter  than  St.  Peter  run 
And  first  arrived  at  the  tomb. 

Allelujah. 

"  As  in  the  room  the  Apostles  were 
Our  Lord  amongst  them  did  appear 
And  said :  Peace  be  unto  all  here. 

Allelujah. 

"  When  Didymus  had  heard  the  same, 
That  Christ  was  rose  from  earth  again. 
Would  yet  as  dubious  remain. 

Allelujah. 

0  Thomas,  view  my  hands,  my  side, 
My  feet;  my  wounds  still  fresh  abide; 
Let  incredulity  aside. ' 

Allelujah. 

**  When  Thomas  his  dear  Saviour  saw, 
And  touched  his  wounds  with  trembling  awe, 
'  Thou  art  my  God,'  said  he,  '  I  know.' 

Allelujah. 

"  '  Blessed  are  they  who  have  not  seen 
And  yet  firmly  believe  herein ; 
Eternal  life  I'll  give  to  them.' 

Allelujah. 

"  In  this  most  holy  feast  let's  raise 
Our  hearts  to  God  in  hymns  and  praise, 
And  let  us  bless  our  Lord  always. 

Allelujah. 

"Our  grateful  thanks  to  God  let's  give 
In  humble  manner  whilst  we  live 
For  all  those  favours  we  receive. 

Allelujah." 

The  volume  nowhere  informs  the  reader  that  it  is  a  trans- 
lation of  the  French-Latin  hymn,  "  O  Filii  et  Filiae " 
(called  sometimes  the  "  Alleluia  ",  as  it  is  introduced  by  a 
triple  repetition  of  the  word  "  Alleluia  ").     I  suppose  that 


214  American   Catholic  Historical  Society 

translation  is  taken  from  some  one  of  the  old  Office 
books  in  English  used  by  Catholics  in  Kngland.  But  all 
such  information,  both  interesting  and  useful  as  it  is,  is 

lacking  in  our  volume  throughout. 

[2  i  p.  36)  contains  only  the  first  stanza,  in  Latin,  of  the 
Veni  Creator  and  of  the  Tantuin  Ergo.  That  only  one 
Stanza  should  he  given  of  the  former  hymn  is  quite  intel- 
ligible, as  it  >till  is  commonly  sung  before  the  Sermon  at 
Mass  «T  Vespers  in  some  churches.  But  that  only  one 
stanza  of  the  Tantum  Ergo  should  have  been  given  is  rather 
puzzling. 

[3  (pp.  31-34)  :  The  music,  without  any  words,  is  given 
for  the  following  eight  hymns:  "Last  (sic)  uns  erfreuen", 
"  Die  ganze  Welt  Heir  (sic)  Jesu  Christ  ",  "  Maria  sei  ge- 
gruesset  ",  "  O  Christ  hier  (sic)  merk  ".  "  Nun  lobet  Gott 
im  Hohen  "  (sic),  "  Freu  dich  der  Himmels  Koenigin", 
"  Komm  reiner  Geist  ".  "  Maria  Jung  Fraurin  "  (sic  >. 

14  1  p.  35  |  :  "  Litaney  uebe  1  sic  \  die  geheimnissen  ". 

15  (pp.  36-38): 

"  The  wonders  which  God's  laws  contain 
Xo  words  can  represent ; 
Therefore  to  learn  and  practice  them 
Our  zealous  hearts  are  bent."  etc. 

16  (p.  39)  :  "Jesu  dulcis  memoria  "  [one  8-lined  stanza 
in  English]  : 

"Jesus,  the  only  thought  of  thee 
With  sweetness  tills  my  breast  : 
But  sweeter  far  it  is  to  see 
And  on  thy  beauty  feast,"  etc. 

17  (pp.  40-56):  The  Anthems  of  the  Blessed  Virgin 
(Alma   Redemptoris   Mater.   Regina  Coeli,  Salve   Regina, 

and  Ave  Regina,  in  the  order  named  1. 

18  (pp.  56-58)  :  "Psalm  CX"  [Confitebor  tibi,  Domine], 
only  the  firsl  two  verses,  in  Latin.     \  curious  selection,  but 

Sd  to  a  modern  anthem  tune. 


Philadelphia  Choir  Book  of  ijSj  215 

19  <  pj  \  :  "  O  anima  beata  quae  suspirat  ad  te,  O 

care  ^p  mse !  Da  mihi  cor  tidele  qu<  id  possit  te  amare."  Ap- 
parently an  original  text  cotnp  «cd  for  adaptation  to  a  mod- 
ern Anthem-musical-setting,  or  perhaps  a  selecti-»n  from  an 
oratorio  in  English.  There  are  many  repetitions  of  this 
text  covering  two  pages,  followed  by  "  Da  Capo  "  ! 

1  1  pp.  6l  Anthem  "  :  "  Thi>  is  the  day  which  the 

Lord  hath  made,  we  will  rejoice  and  be  glad  in  it.     For  unto 
l>orn  a  Saviour,  which  is  Christ  the  Lord  ".  etc. 
21    1  p]  "  Anthem  '"  :  "  Sing  t< 1  the  Lord  a  new 

g,  let  his  praise  be  in  the  Church  of  Saints" — appar- 
ently a  Protestant  translation  of  Psalm  [49:  "Sing  ye  to 
the  Lord  a  new  canticle,  let  his  praise  be  in  the  Church  of 
the  Saints."  Perhap-  it  i>  adapted  to  a  Church  of  England 
anthem,  perhaps  :■>  an  orat  rio  selection. 

7):  Stabat  Mater  (only  one  Latin  stanza),  to 
the  melody  sung  to-day  in  OUT  churches. 

23  1  pi  Lift  Up  Your  Gates":  "  Lift  up  your 
gate-.  ( )  ye  princes,  and  be  lifted  up,  O  ye  eternal  d< 
and  the  king  of  glory  shall  enter  in.  Who  is  the  king  of 
glory?  It  is  the  Lord  strong  and  mighty  ever  and  Lord  of 
hosts,"  etc.  Apparently  an  adaptation  to  a  previous  an- 
them or  oratorio-selection. 

24  I  P-  7 

"  How  various.  Lord,  thy  works  arc  found. 
For  which  thy  wisdom  we  ad«»re; 
The  earth  is  with  thy  treasure  crowned 
Till  nature's  hand  can  grasp  no  more." 

25  (pp.  71-4)  :  "  King  of  kings.  Lord  of  lords,  whom 
heaven  and  earth  cannot  contain,  how  great  is  thy  good- 
ness thus  to  become  our  Sacrifice  and  our  Food,"  etc.  Ap- 
parently an  adaptation. 

(  pp.  74-76)  :  "  O  praise  ye  the  Lord,  sing  his  praise 
in  the  congregation  of  saints,"  etc.  The  same  comment  as 
that  on  No.  23. 


2l6  American  Catholic  Historical  Society 

-7  IPP-  7^-77)  ' 

"  Let  all  who  would  God's  goodness  prove 
Still  in  his  truth  confide, 
Whose  mercy  ne'er  forsook  the  man 
That  on  his  truth  relied,"  etc. 

28  (p.  78)  :  "  O  Praise  Ye  the  Lord  " — a  prose  anthem. 

29  (pp.  78-81)  :  "  O  Be  Joyful  " :  "  O  be  joyful  in  the 
Lord ;  all  ye  lands  serve  the  Lord  with  gladness  ",  etc. 

30  (pp.  82-83)  :  "  Make  a  joyful  noise  unto  God,  all  ye 
lands,''  etc. 

31  (p.  84)  :  "  Anthem  at  the  Elevation  " ;  "  We  adore  and 
worship  thee,  O  Christ,  with  all  praise  and  benediction,"  etc. 
Apparently  an  adaptation. 

32  (p.  85):  "A  Hymn": 

"  Through  all  the  changing  scenes  of  life. 
In  trouble  and  in  joy, 
The  praises  of  my  God  shall  still 
My  heart  and  tongue  employ,"  etc. 

2,7,  (p.  86)  :  "  Anthem  " :  "  Sing  unto  God.  ye  kingdoms 
of  the  earth,"  etc. 

34  (pp.  89-92)  :  "  Anthem  ":  "  Let  us  magnify  thee.  O 
great  God,"  etc. 

35  (PP-  93-97)  :  "  Let  the  Bright  Seraphim- 

"  Let  the  bright  seraphims  in  burning  row 
Their  loud  uplifted  awful  trumpets  blow; 
Let  the  cherubic  hosts  in  tuneful  choirs 
Touch  their  immortal  harps  with  golden  wires." 

3r>  (p-  9/)  •  One  stanza  of  the  English  version  of  the  Dies 
Irae. 

37  (pp.  08-100)  : 

"Grateful  notes  and  numbers  bring 

wink-  tlu-  name  of  r,od  we  sing; 

1  [oly,  holj  .  holy  Lord. 

}\r  thj  si  trioua  name  adored."  etc. 


A   Philadelphia  Choir  Book  of  ijtij  217 

-  (pp.  101-109)  :  "  The  Holy  Ala>.s  of  the  Blessed  Trin- 
ity.'' It  is  in  harmonized  plains. >ng  with  symphonies  inter- 
spersed in  modern  music.  The  effect  is  most  curious,  nay, 
amusing.  The  text  is  badly  deficient  Thus,  for  the  "ixyrie 
Eleison"  we  have:  "  Kyric  eleison" — then  a  symphony; 
"Christe   eleison" — a   symphony    follows;    "  Christe   elei- 

— then  a  symphony:  and,  finally,  another  "  Kyrie  elei- 
son". These  are  the  only  portions  of  the  triple  Kyrie, 
triple  Christe,  and  triple  Kyrie  given.  The  Gloria  is  still 
more  detective.  There  i>  no  "  Et  in  terra  pax  hommibus, 
bonae  voluntatis",  but  the  choir  begins  with  the  words: 
"Laudamus  te  ".  Instead  «'t'  the  next  sentence.  "  Bene- 
dicimus  te",  we  have  a  "symphony".  Then  follows  the 
sentence.  "  Adoramus  te  ".  and  the  Glorificamus  te  "  is 
omitted,   or   rather   is   replaced   by   a   ■'symphony".      Next 

we  have  "  Gratias  agimus  til >i  propter  magnam  gloriam 

tuam  "   (  then  a  "  symphony  "  ).     The  next  sentence.  "  Do- 

minc    Deus,    Rex   caelestis,    Deus    Pater   omnipotens"   i.s 

omitted.  Next  we  have:  "  Domine  Fili  unigenite  Jesu 
Christe"  (followed  by  a  "symphony").  The  sentence: 
"Domine  Dens,  Agnus  Dei,  Filius  Patris,  Qui  tollis  pec- 
cata  mundi,  miserere  nobis  "  is  omitted,  «>r  perhaps  I  should 
say  is  replaced  by  the  symphony,  for  next  we  have:  "Qui 
tollis  peccata  mundi.  suscipe  deprecationem  nostram", 
after  which  we  have  a  symphony  (perhaps  replacing  the 
words:  "Qui  sedes  ad  dexteram  Patris,  miserere  nobis", 
which  are  omitted)  and  then  :  "  Quoniam  tu  solus  sanctus  " 
(  with  a  symphony  to  take  the  place  of  the  following  words : 
'  Tu  solus  Dominus");  and  finally  we  have:  "  Tu  solus 
altissimus,  Jesu  Christe.  Amen  " !  The  Gloria  thus  comes 
t  1  an  abrupt  termination,  leaving  out  all  mention  of  the 
Holy  Ghost:  "Cum  Sancto  Spiritu  in  gloria  Dei  Patris". 
The  omitted  words  may  have  been  "  recited  ",  during  the 
"  symphonies  ",  in  an  audible  monotone. 


2l8  .American  Catholic  Historical  Society 

The  Credo  has  a  complete  text  down  to  the  words:  "  11011 
erit  finis",  after  which  it  incontinently  places  "  Amen  '*. 
and  thus  once  more  omits  all  reference  to  the  Holy  Ghost: 

Et  in  Spiritum  Sanctum,  Dominum,  et  vivificantem,  qui 
ex  Patre  Pilioque  procedit.  Qui  cum  Patre  et  Filio  simul 
adoratur  et  conglorificatur ;  qui  locutus  est  per  Prophetas." 
And  the  remainder  of  the  Credo  is  also,  of  course,  omitted: 
"  Et  imam  sanctam  catholicam  et  apostolicam  Ecclesiam. 
Coniiteor  unam  baptisma  in  remissionem  peccatorum.  Et 
exspecto  resurrectionem  mortuorum.  Et  vitam  venturi 
saeculi." 

39  (pp.  110114)  : 

"  Praise  the  Lord  with  cheerful  noise, 
To  his  glory  sound,  my  lyre, 
Praise  the  Lord  each  mortal  voice, 
1 'raise  the  Lord  ye  heavenly  choir."  etc. 

40  ( ]).  1  14  )  :  The  versicles  and  responses  before  the  Pref- 
ace <  >f  the  Mass. 

41  (p.  115):  The  Sanctus,  plainsong,  with  complete  text. 

42  (p.  117)  :  The  Agnus  Dei,  plainsong,  with  complete 
text. 

43  (p.  118)  :  The  Ite  Missa  Est. 

44  1  pp.  [19-121)  :  The  Mass  for  the  Dead,  in  plainsong. 
Only  two  stanzas  of  the  Dies  Irae  are  given. 

45  1  ]).   [22)  :  The  Ave  Maria,  in  modern  setting. 

46  (pp.  123-125):  "Anthem":  "  Benedicamus  Patrem 
et  Filium  et  Spiritum  Sanctum." 

-    (p.    [25):    "Praise    the    Lord.    Jerusalem",    a   pr 
anthem. 

(p.    [26 

"This  s«,icmn   feast  our  joyful  songs  inspire 
\nd  urge  the  praises  of  our  tuneful  lyre. 
M.-t\  •  ever  ^in<^ 

Tin-  Virgin's  Son  and  angels'  King, 
Xik1  praise,  with  tin-  celestial  h< 

Tli<  Son,  and  Holj 


A  Philadelphia  Choir  Book  of  1787  219 

The  first  twu  lines  are  repeated,  and  the  twice-sung  lines 
are  followed  by  "  Da  Capo  "  ! 

4<;  (pp.  130,  131):  "Praise  the  Lord,"  etc.,  a  prose 
anthem. 

50  (pp.  132-133)  :  "1  will  glorify  thee,"  etc..  a  prose 
anthem. 

51  1  pp.  134-136)  :  "  O  Deus  ego  amo  te,  Nee  amo  te  ut 
salve-  me,"  etc. 

And  so  we  are  brought  to  the  end  of  this  curious  choir- 
book,  tt  is,  indeed,  a  curious  volume,  without  orderly  ar- 
rangement of  its  contents;  with  apparently  haphazard  in- 
clusions ol  stanzas  from  the  Tantuni  Ergo,  the  psalm  I 
fitebor,  and  the  texts  of  the  Mass;  and  with  a  superabund- 
ance of  "anthems"  apparently  from  Anglican  sour 
And  we  are  surprised  not  to  find  any  mention  of  the  "  O 
Salutaris  Hostia  "  or  of  the  "  Vdeste  Fideles 

Looking  at  the  contents  more  closely,  we  notice  that  it 
comprises  some  "Hymns",  many  "Anthems",  a  make- 
shift "  Mass  ".  a  Ma--  for  the  Dead  1  not  liturgically  o  m- 
plete),  a  "Vespers"  for  Sunday,  the  four  anthems  of  the 
Blessed  Virgin,  an  "  Ave  Maria  ".  and  a  few  other  things. 
These  inclusions  are  placed  in  the  volume  almost  without 
any  thought  of  an  orderly  arrangement.  In  order  to  take 
account  of  stock,  let  me  try  to  categorize,  in  some  fashion, 
the  content-. 

Hymns. 

1 :  While  Angels  to  the  world  proclaim. 
O  great  Creator  of  the  light. 
Sing  ye  praises  to  the  Lord. 
Hail  to  the  Queen  who  reigns  above. 
My  soul,  thy  great  Creator  praise. 
Tantum  Ergo. 

Young  men  and  maids,  your  praises  join. 
12:  Tantum  Ergo,  Latin,  one  stanza. 
No.  12:  Veni  Creator,  Latin,  one  stanza. 


No. 

1 : 

No. 

5: 

No. 

7- 

No. 

8: 

No. 

9: 

Xo. 

10: 

No. 

11  : 

No. 

12: 

220  American   Catholic   Historical  Society 

No.   15:  The  wonders  which  God's  laws  contain. 

No.    i":  Jesus,  the  only  thought  of  thee  («S  lines). 

No.  22:  Stabat  Mater. 

No.  -'4  :   How  various,  Lord,  thy  works  are  found. 

No.  27 J   Lei  all  who  would  God's  goodness  prove. 

No.  32 :  Through  all  the  changing  scenes  of  life. 

No.  35:   Let  the  bright  Seraphims  in  burning  row. 

No.  36:  Dies  trae,  English  version. 

No.  37:  Grateful  notes  and  numbers  bring. 

No.  39:   Praise  the  Lord  with  cheerful  noise. 

No.  48:  This  solemn  feast  our  joyful  songs  inspire. 

Xo.  51:  0  Deus,  ego  amo  te,  Xec  amo  te  ut. 

Of  these.  !  strongly  suspect  that  only  Nos.  5  (transl.  of 
"  Lucis  Creator  "),  8  (transl.  of  "  Salve  Regina  "),  10,  ll 
(transl.  of  "O  Filii  et  Filiae"),  12  (one  Latin  stanza  of 
"  Veni  Creator"  and  of  "  Tantum  Ergo"),  16  (transl.  of 
"  Jesu  dulcis  memoria  "  I,  22  |  "  Stabat  Mater  "  >.  36  1  one 
English  stanza  of  ''Dies  Irae"),  and  51  (the  hymn  at- 
tributed sometimes  to  St.  Francis  Xavier)  are  of  Catholic 
authorship.  Of  the  twenty-one  hymns,  therefore.*  I  think- 
that  eleven  are  of  Protestant  authorship. 

Thus,  No.  9:  "  My  soul,  thy  great  Creator  praise"  has 
for  its  author  Isaac  Watts,  the  "founder  of  |  Protestant] 
English  hymnody  ".  Me  embodied  in  it  some  lines  by  Sir 
I.  I  >enham. 

No.  32:  "Through  all  the  changing  scenes  of  life"  is 
from  Tate  &  Brady's  New  Version  ^t  the  Psalms  (  publ.  in 
.60S). 

No.  35  :  "Let  the  bright  Seraphims  (sic)  in  burning  row" 
is  an  aria  in   Handel's  oratorio  of  Samson. 

No.  37:  "  Grateful  notes  and  numbers  bring"  is  appar- 
ently by  the  Rev.  Wm.  Dodd,  an  Anglican  clergyman. 

These  are  the  only  hymns  of  supposedly  Protestant  au- 
thorship  which  1  have  been  able  to  identify.  Who  can  fur- 
nish me  with  the  authorship  of  the  foil -wing: 


A  Philadelphia  Choir  Book  of  ij8j  221 

No.      l  :   While  angels  to  the  world  proclaim. 

No.    7:  Sing  ye  praises  to  the  Lord. 

No.  15:    I'he  wonders  which  God's  laws  contain. 

No.  24:    How  various.  Lord,  thy  works  are  found. 

No.  -7  :   I  *et  all  who  would  (  iod's  goodness  prove. 

Xo.  39:  Praise  the  Lord  with  cheerful  noise. 

No.  48:  This  solemn  feast  our  joyful  songs  inspire. 

.  tnthems. 

No.  [9:  0  anima  beata  quae  suspirat  ad  te. 

No.  20:  This  is  the  day  winch  the  Lord. 

No.  2i :  Sing  to  the  Lord  a  new  song. 

No.  23:  Lift  up  your  gates. 

No.   25:    King  of  king-.  Lord  of  lords. 
No.  26:  (  )  praise  ye  the  Lord. 
No.  28:  <  )  praise  ye  the  Lord. 

No.   29:   <  )  Be  joyful  in  the  Lord. 
No.   30:    Make  a  joyful  noise  unto  God. 
No.  31  :  We  adore  and  worship  thee. 
No.  33:  Sing  unto  God,  ye  kingdoms. 

No.  34:  Let  US  magnify  thee.  ()  great  God 

No.  46:  Benedicamus  Patrem,  el  Filium. 

No.  47:  Praise  the  Lord.  Jerusalem. 

No.  40 :  I 'raise  the  Lord. 

Xo.  50:  I  will  glorify  thee. 

t  u  these  sixteen  AnthemSj  the  words  of  Nos.  19.  20,  31, 

40.  are  Catholic.  1  think  the  remaining  twelve  are  Prot- 
estant translations  or  adaptations  of  the  Psalms.  I  suspect 
strongly  that  all  sixteen  are  set  to  music  of  non-Catholic 
authorship.     I  do  not  include  the  Anthems  of  B.  V.  M. 

Psalms. 

Besides  the  psalms  for  Vespers  (  No.  5)  in  Latin,  I  find 
an  English  translation  of  one  verse  of  the  Miserere  (No. 
7)  ;  a  versified  translation,  which  I  have  noted  above  as  a 
hymn,  of   "Psalm   CIV"    (it  is   Psalm   CUT  in  our  Vul- 


222  American  Catholic  Historical  Society 

gate!)  ;  the  "  Confitebor  "  (but  only  two  verses)  ;  and  var- 
ious translations  or  adaptations  of  the  Psalms  noted  above 
(e.  g.  Nos.  23,  26,  28,  etc.)  as  "  Anthems  ". 

Masses. 

The  "  Holy  Mass  of  the  Blessed  Trinity  "  has  a  most  de- 
fective text  for  the  Gloria  and  the  Credo,  the  references  to 
the  Third  Person  of  the  Holy  Trinity  being  (amongst  other 
portions  of  the  text)  omitted.  This  is  curious,  as  the  Mass 
is  styled  "of  the  Blessed  Trinity".  The  copy  of  the  volume 
owned  by  the  American  Catholic  Historical  Society  records, 
in  writing,  that  it  belonged  to  the  choir  of  the  Church  of 
the  Holy  Trinity ! 

The  Mass  for  the  Dead  is  also  liturgically  defective  in 
text. 

Miscellaneous. 

We  find  five  settings  of  the  Litany  of  Loreto :  some  Ver- 
sicles  and  Responses;  eight  tunes  (without  words)  for  Ger- 
man hymns ;  the  Ave  Maria  in  Latin,  set  to  a  modern  mel- 
ody; and  a  "  Litaney  uebe  (sic)  die  Geheimnissen  "  with- 
out words. 

It  is  a  strange  mixture  suggesting  the  thought  that  John 
Aitken  was  a  publisher  who  naturally  tried  to  include  in  his 
volume  for  Catholic  use  a  large  portion  of  other  and  non- 
Catholic  music  carried  by  him  in  stock.  For  the  volume 
smacks  throughout  of  non-Catholic  editorship,  both  by  its 
inclusion  of  so  many  "  Anthems  "  and  of  Protes.tant  ren- 
derings of  the  Psalms  in  English  verse,  and  by  the  scrappy 
editing  of  the  distinctively  Catholic  requirements  in  respect 
of  Mass,  Vespers,  Benediction. 

Or  we  may  draw  the  pathetic  conclusion  that  Catholic 
repertoires  at  that  day  were  very  restricted,  perhaps  because 
of  a  slight  intercourse  in  business  matters  with  the  Mother 
Country  from  which  the  United  States  had  so  recently  and 
so  successfully  seceded.     It  is  true  that,  if  we  consider  the 


A  Philadelphia  Choir  Hook  of  ijtiy  223 

very  slight  limits  of  the  little  volume  put  forth  by  Coghlan 
in  London  in  1782,  and  reissued  by  him  in  [799  (priced  at 
three  shillings!).  Catholics  really  knew  of  little  that  they 
could  sing  appropriately  in  church.  Yet,  within  the  sixty- 
four  pages  of  Coghlan's  umo  volume  ::  I  find  plainsong  set- 
tings of  the  four  anthems  B.  V.  M.;  an  alternative  setting 
<>f  the  Salve  Regina ;  nine  settings  of  the  Kyrie  for  the 
Litany  of  the  B.  V.  M.:  the  Prose  (Puer  nobis  nascitur ) 
for  the  Nativity  of  our  Lord ;  the  Adeste  Fideles ;  the  Sta- 
bat  Mater;  the  Miserere  in  Latin;  the  O  Filii  in  Latin;  the 
anthem  for  Ascension  (O  Rex  Gloriae )  ;  the  complete  Veni 
Creator;  the  Sequence  (Veni  Sancte  Spiritus)  in  two  set- 
tings ;  the  O  Sacrum  Convivium  in  three  settings ;  the  Tota 
Pulchra  in  two  settings;  the  hymn  O  Roma  Felix;  the  Te 
Deum :  seven  settings  of  the  Tantum  Ergo ;  two  of  the  O 
Salutaris;  Ilaec  Est  Praeclarum ;  Ave  Maria;  two  settings 
of  Domine  Salvum  Fac;  the  Ave  Verum;  the  antiphon  O 
Onam  Sua  vis;  the  Adoro  Te;  the  Panis  Angelicus;  the  O 
Jesu  Deus  magne;  the  Tu  Solus  Fons  Amoris;  the  Deus 
Cordis  Mei ;  the  Jesu  Salvator  Mundi ;  the  O  Meritum  Pas- 
sionis ;  all  these  are  in  Latin  text  exclusively.  But  the  var- 
ious Primers  and  Divine  Offices  which  had  appeared  before 
1787  in  England  for  Catholic  use  would  have  furnished 
many  translations  of  Latin  hymns,  sequences,  anthems,  etc. 
Tn  another  paper  I  shall  take  up  for  consideration  the  edi- 
tions of  the  "  Compilation  "  appearing  at  Philadelphia  in 
1791  and  181 4.  H.  T.  Henry. 

3 "  An  Essay  or  Instruction  for  Learning  the  Church  Plain  Chant. 
To  which  are  added  Various  Litanies,  the  Te  Deum.  Domine  for  the 
King.  Tantum  Ergo,  and  Motets  at  Exposition.  Benediction  of  the 
Blessed  Sacrament.  &c.  &c.  With  Approbation.  London  :  Printed  by 
J.  P.  Coghlan.  Hike  Street.  Grosvenor  Square.     MIHV.XCIX. 

Three  Shillings."  It  had  been  previously  issued  in  1782.  and  might 
conceivably  have  reached   Philadelphia  between   the  ye.  when 

peace  was  declared  between  England  rod  America)  and  1787  (when 
Aitken  compiled  his  volume  1.  Tin-  17SJ  edition  has  a  different  title- 
page,  but  its  musical  content-  arc  those  of  tin-  1790  edition. 


PRINCE  GALLITZIN'S  FIRST  VISIT  TO  THE 
ALLEGHENY  MOUNTAINS. 


In  an  old  record  book  kept  by  Father  Tuigg  I*  find  the  following  ac- 
count of  Doctor  Gallitzin's  first  visit  to  the  Allegheny  Mountains. 
Nowhere  have  I  seen  in  print  this  interesting  and  very  singular  story. 
I  give  it  as  I  find  it  in  Father  Tuigg's  own  words.     The  story  runs  thus: 

In  the  spring  of  the  year  1795  Doctor  Gallitzin,  then 
called  the  Rev.  Mr.  Smith,  received  the  first  convert  to 
Catholicity  on  the  Allegheny  Mountains  and  under  the 
following  circumstances : 

"In  the  year  1770  Susanne  Barlow,  born  of  Methodist 
parents,  was  married  by  Rev.  Mr.  Mulhall  to  John  Bur- 
goon,  a  Catholic,  somewhere  near  Elk  Ridge,  Maryland, 
Susanne's  birthplace.  After  marriage  they  lived  up  to 
the  year  1794  at  Pipe  Creek,  now  Adams  county,  Pa. 
In  the  spring  of  the  following  year  Susanne  took  sick 
and  expressed  a  wish  to  be  received  into  the  church. 
At  that  time  Conewago,  Adams  county,  wasjdie  nearest 
point  at  which  a  priest  resided  ;  and  -as-there  were  no 
railroads  or  any  other  public  thoroughfares  it  was  very 
difficult  to  get  a  person  who  would  venture  on  the 
journey.  At  last  John  Walshe,  who  was  married  to  old 
Captain  Michael  McGuire's  sister,  volunteered  to  go  for 
the  priest.  Walshe  went  direct  to  Emmittsburg,  then 
the  home  of  Dr.  Gallitzin.  When  Walshe  arrived  at 
Emmittsburg  Dr.  Gallitzin  had  left  for  Baltimore.  Walshe 
followed  him  thither,  but  before  he  reached  Baltimore 
the    Rev.    Mr.    Smithf  had   left  for   some    other    point. 

*The  Rev.  Morgan  M.  Sheedy,  of  Altoona,  in  The  Pittsburgh  Ob- 
server. 
tDr.  Gallitzin  went  by  the  name  of  Mr.  Smith. 


J 


VOL.  XXVI 


DECEMBER.  1915 


NO.  4 


IRecorbs 


of  tbe 


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TABLE  OF  CONTENTS. 

PAGE 

Don  Agustin  de  Iturbide 289 

By  Augustin  de  Iturbide. 
Philadelphia  Choir  Books  of  1791  and  1814 311 


imixmwttmz^muuKMtoMYMimimmWivmmim* 


Epistle   or   Diary  of   the  Reverend   Father   Marie    Joseph 

Durand 328 

Translated  from  the  French  by  Ella  M.  E.  Flick. 

Historical  Address  Delivered  by  the  Rev.  Morgan  M.  Sheedy, 
LL.D.,  on  the  i6qth  Anniversary  of  the  Organization  and 
the  57TH  Anniversary  of  the  Consecration  op  St.  Mary's 
Church,  Lancaster,  Pa.,  Sunday,  March  26,  191 1  .  346 

A  Papal  Ablegate  in  America.  Report  of  Mgr.  Gennaro  Stra- 
nier>  ion  for  the  Presentation  of  the  Red  Biretta  to  Car- 

dinal Gibbon-  361 

By  the  Rev.  Joseph  J.  Murphy,  J. CD. 

Father  Peter  Helbron's  Paptismal  Register  at  Sportsman 

Hall,  P  37* 

By  P.  Felix  Fellmer,  O.S.B. 

Historical  Sideligi  

Book  Reviews  380 


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ANDREW  J.  KEEGAN,  Vice-President. 

ALFRED  J.  MURPHY,  Secretary  and  Treasurer. 
ANTHONY  A.  HIRST,  Esq.,  Solicitor. 


BOARD  OF  MANAGERS 


Alfred  J.  Murphy, 
Jeremiah  J.  Sullivan, 
Ignatius  J.  Dokan, 
Charles  A.  McManus, 
John  T.  Dohan, 
John  A.  Leslie, 
John  A.  Dougherty, 
William  V.  McGrath,  Jr. 


Walter  George  Smith, 
Anthony  A.  Hibst, 
Ignatius  J.  Horstmann, 
George  W.  Norris, 
D.  Webster  Dougherty, 
John  J.  MacDonald, 
Andrew  J.  Keegan, 
William  P.  Sinnett, 
James  M.  Kelley, 


Joseph  M.  Engel, 
Edward  J.  Doonbr, 
Joseph  C.  Trainer, 
Hon.  Joseph  F ,  Lamorelle, 
John  E.  Lonergan, 
Thomas  Devlin, 
Hugh  McCaffrey. 
M.  F.  Hanson. 


By  purchasing  from  Advertiser!  in  the  Records, 


KtLUKUS  Uh   IHfc 

American  Catholic  Historical  Society 


Vol.  XXVI  December,  191 5  No.  4 


PHILADELPHIA  CHOIR  BOOKS  OF  1791  AND  1814 

IN  the  Records  for  September,  1915,1  I  gave  a  detailed 
account  of  John  Aitken's  sumptuous  volume  for  the 
use  of  Catholic  choirs.  The  book  was  found  to  be 
remarkable  in  several  respects.  Viewed  simply  and 
strictly  from  the  standpoint  of  adaptability  to  Catholic 
choral  use,  it  appeared  to  be  lavishly  inadequate.  It  did 
not  contain  the  O  Salutaris  or  the  Adeste  Fideles,  but 
it  was  replete  with  Protestant  hymns  and  anthems  in 
English  text.  It  was  miscellaneous  in  the  character  and 
the  location  of  its  contents.  Inclusions  which  should 
have  been  grouped  in  one  part  of  the  volume  (such  as 
the  Mass,  the  Vespers,  the  Benediction  Service,  and  the 
Mass  for  the  Dead)  were  separated  from  one  another  by 
hymns  or  anthems  in  English.  Both  of  the  masses  were 
liturgically  defective  in  text,  the  "  Holy  Mass  of  the 
Blessed  Trinity 'r  especially  so. 

The  Edition  of  1791 
Although  the  1787  volume  was  very  inadequate  for 
the  needs  of  a  Catholic  choir,  we  may  trust  that  the  en- 
terprise of  its  publisher  did  not  go  without  proper  finan- 
cial recognition.  At  all  events,  he  was  evidently  encour- 
aged to  produce  a  new  edition  four  years  later  (1791) 
which  bore  a  new  title  : 

"  A  /  Compilation  /  of  the  Litanies/ Vespers  Hymns  and  Anthems, 
As  They  Are  Sung  in  the  Catholic  Church./  Philadelphia  Printed 
and  Sold  by  John  Aitken  1791." 

This  title-page  is  an  entirely  new  engraving  and   pre- 
sents an  equally  elegant  appearance  with  that  of  the  1787 

1  See  (pages  208-223)  A  Philadelphia  Choir  Hook  of  1787. 


312  American  Catholic  Historical  Society 

volume.     The  reverse  of  this  page  is  blank.     The  next 
page  bears  the  legend : 

"  District  of  Pennsylvania,  to  wit : 

"  Be  it  remembered  that  on  the  twenty-fifth  day  of  November  in  the 
sixteenth  year  of  the  Independence  of  the  United  States  of  America, 
John  Aitken,  of  the  said  District,  hath  deposited  in  this  Office  the  title 
of  a  Book,  the  Right  whereof  he  claims  as  Author  in  the  words  follow- 
ing, to  wit : 

"A  Compilation  of  the  Litanies,  Vespers  Hymns  and  Anthems  as 
they  are  sung  in  the  Catholic  Church. 

11  In  conformity  to  the  Act  of  Congress  ..."  (etc.). 

Turning  over  the  pages  of  this  volume  (which  is  a 
small  quarto  like  that  of  1787),  we  notice  immediately 
that  the  harmonization  adds  a  third  voice  to  the  two 
parts  (air  and  bass)  given  in  the  former  edition.  Besides 
this,  the  contents  are  arranged  differently  and,  in  some 
places,  differ  largely  in  detail.  They  now  have  a  fairly 
logical  connection  ;  and  one  may  suppose  that  a  chief  part 
of  whatever  criticism  was  launched  against  the  earlier 
volume  must  have  been  on  the  score  of  the  disconnected 
and  apparently  haphazard  placing  of  the  various  inclus- 
ions. In  both  editions,  the  contents-page  gives  inclus- 
ions in  their  page-order,  and  not  alphabetically — a  feature 
that  makes  the  consultation  of  either  choir-book  some- 
what fatiguing. 

But  it  is  clear  that  John  Aitken  went  to  much  expense 
and  trouble  to  make  this  later  edition  satisfactory  to  his 
prospective  clients.  That  in  some  respects  it  was  still 
far  from  perfection,  as  we  shall  see,  doubtless  should  not 
be  construed  as  a  fault  on  his  part,  but  rather — if  fault 
there  was — on  the  exceedingly  humble  repertoire  of  the 
Catholic  choirs  of  that  time,  or  else  on  the  negligence 
and  oversight  (implicitly  arraigned,  in  our  own  day,  by 
the  Motu  Proprio  of  Pius  X.  on  Sacred  Music)  of  the 
ecclesiastical  superiors. 


Philadelphia   Choir  Books  of   ijyi  and    1814       t}  1  %} 

It  will  be  convenient  to  note  the  contents  in  the  same 
way  as  I  have  done  for  the  1787  edition.  For  brevity's 
sake,  I  will  refer  to  this  1787  volume  as  "A": 

1  (pp.  1-3)  :  Litany  of  Loretto,  three  settings. 

2  (p.  4)  :  Komm  reiner  Geist  (German  text  given 
with  the  tune). 

3  (PP-  5'  6)  •  Veni  Creator  (in  Latin  and  English)  : 

M  Spirit,  Creator  of  mankind. 
Visit  every  pious  mind 
And  sweetly  let  thy  grace  invade 
Such  breasts,  O  Lord,  as  thou  hast  made. 

"Thou  art  the  Comforter  whom  all 
Gift  of  the  highest  God  must  call  ; 
The  living  Fountain,  Fire  and  Love, 
The  ghostly  unction  from  above. 

"God's  sacred  ringer  which  imparts 
A  Sevenfold  grace  to  faithful  hearts, 
Thou  art  the  Father's  Promise,  whence 
We  language  have  and  eloquence,"  etc. 

This  appears  to  be  the  translation  given  by  the  Primer 
(London)  of  1687.  It  is  repeated  in  Father  James 
Hoerner's  Manual  of  Catholic  Melodies  (Baltimore, 
1843).  I  have  stopped  my  quotation  at  a  line  which  is 
suggestive  of  Dryden ;  and,  indeed,  as  that  poet  of  the 
sonorous  line  and  energy  divine  was  converted  to  the 
Catholic  faith  in  1686,  it  is  not  improbable  that  he  was 
the  author  of  the  version.  We  all  know  his  excellent 
one  : 

'Creator  Spirit,  by  whose  aid 
The  world's  foundations  first  were  laid. 
Come  visit  every  pious  mind  ; 
Come,  pour  thy  joys  on  human  kind  : 
From  sin  and  sorrow  set  us  free. 
And  make  thy  temples  worthy  thee,"'  etc. 

It   appeared   in    the   Primer  of    1706;    but    it    seems   to 


314  American  Catholic  Historical  Society 

me  not  unlikely  that  the  version  found  in  the  Primer  of 
1687  was  a  first  attempt ;  for  there  are  several  resem- 
blances, of  which  this  is  perhaps  the  most  striking  (at 
the  end  of  the  third  verse)  : 

"  Who  dost  the  gifts  of  tongues  dispense 
And  crown  thy  gift  with  eloquence." 

The  Primers  of  1604,  1619,  1685,  do  not  use  the  word 
"eloquence" — (surely  a  Drydenesque  word!) — while 
those  of  1687  and  1706  (the  latter  certainly  by  Dryden) 
do  use  that  word.  For  this  reason  I  venture  to  complete 
the  elegant  version  (since  it  may  be  Dryden's !)  : 

"  Enlighten,  Lord,  our  souls,  and  grant 
That  we  thy  love  may  never  want ; 
Let  not  our  virtue  ever  fail, 
But  strengthen  what  in  flesh  is  frail. 

"  Chase  far  away  our  mortal  foe 
And  thy  blest  peace  on  us  bestow ; 
Let  thy  direction  on  us  shine 
That  sin  and  vice  we  may  decline. 

11  By  thee  let  us  the  Father  know ; 
Vouchsafe  likewise  the  Son  to  show  ; 
And  let's  believe  in  Thee,  who  dost 
Proceed  from  both,  and  Holy  Ghost. 

"  Most  gracious  may  the  Father  reign. 
And  so  the  Son,  who  rose  again  ; 
Together  with  the  Paraclete, 
Through  years  and  ages  infinite."  ' 

*In  the  Manual  of  Catholic  Melodies  of  1843,  the  three   last-quoted 
stanzas  are  as  follows  : 

"  Chase  from  our  minds  th'  infernal  foe 
And  peace,  the  fruit  of  love,  bestow ; 
And  lest  our  feet  should  step  astray, 
Protect  and  guide  us  in  the  way. 


Philadelphia  Choir  Books  of  ijyi  and  1S14      315 

4  (pp.  7,  8)  :  The  Pange  Lingua  is  given  complete  in 
Latin  and  English  : 

"  Sing,  O  my  tongue,  adore  and  praise 
The  depth  of  God's  mysterious  ways,"  etc. 

It  is  from  the  Pritner  of  1706,  and  may  be  Dryden's 
translation.  It  is  sufficiently  accessible  in  prayer-books 
of  older  date  than  the  present-day  ones,  and  need  not  be 
quoted  in  full  here.  "  A "  does  not  give  the  English 
verse. 

5:  "The  Holy  Mass  of  the  Blessed  Trinity"  (as  in 
"A",  pp.  101-109,  but  without  the  "Praise  the  Lord" 
which  there  is  placed  before  the  Sanctus — apparently  as 
an  "Offertory.")  x  The  four  years  intervening  between 
1787  and  1791  might  be  considered  a  sufficient  space  of 
time  to  have  had  attention  more  than  once  directed  to 
the  immense  lacunae  in  the  texts  of  the  Gloria  in  Excelsis 
and  the  Credo  in  unum  Deum,  as  these  liturgical  texts 
were  printed  in  the  edition  of  1787.  And  yet  the  same 
omissions  occur  in  the  1791  edition!  And — if  one  may 
be  permitted  to  comment  on  a  humorous  circumstance 
in  connection  with  these  choir-books  for  divine  service 
— I  notice  a  written  legend  on  the  inner  cover  of  both 
of   these  volumes  to   the  effect  that  they  were  in  use  in 

"  Make  us  eternal  truths  receive, 
And  practice  all  that  we  believe  : 
Give  us  thyself,  that  we  may  see 
The  Father  and  the  Son  in  Thee. 

"  Immortal  honor,  endless  fame, 
Attend  th'  Almighty  Father's  name: 
To  the  Son  equal  praises  be. 
And,  Holy  Paraclete,  to  Thee.' 

1  If  this  conjecture  is  correct,  it  would  appear  that  the  rubrics  forbid 
ding  the  singing  of  vernacular  texts  at  a  Hi^h  Mass  were  either 
unknown  or  ignored  by  our  forefathers  here. 


316  American  Catholic  Historical  Society 

the  choir  of  Holy  Trinity  Church  in  Philadelphia  in  the 
olden  days.  It  follows  by  a  pretty  fair  inference  that 
"  The  Holy  Mass  of  the  Blessed  Trinity  "  was  sung  faith- 
fully, and  doubtless  competently,  by  the  good  choristers 
of  that  famous  old  Philadelphia  church,  although  the 
liturgical  texts  they  were  rendering  made  no  obvious 
provision  for  singing  those  very  important  portions  of 
the  Gloria  and  of  the  Credo  which  deal  with  the  Third 
Person  of  the  Blessed  Trinity.  May  we  indulge  the  hope 
that  these  portions  of  the  text  were  really  not  omitted, 
but  were  sung  perhaps  "  recitatively "  in  a  monotone, 
while  the  organ  played  a  ''symphony"? 

6  (pp.  25-55)  :  Vespers  for  Sundays  (in  Latin  and  in 
English).  "  A  "  had  only  the  Latin  texts  of  the  Psalms. 
We  now  find  them,  in  the  1791  volume,  in  column  and 
parallel  form,  in  both  Latin  and  English.  The  hymn 
"  Lucis  Creator  "  is  also  given  in  both  Latin  and  English, 
and  not  merely,  as  in  "A",  in  English  only  (and  only 
one  stanza).  We  have  also  the  four  anthems  of  the 
Blessed  Virgin  in  due  place  in  the  volume;  and  Psalm  50 
(Miserere)  is  given  in  both  Latin  and  English  (unlike 
"A"). 

7  (56-65)  :  The  Missa  pro  Defunctis  (with  the  Dies 
Irae  in  full  Latin  text,  unlike  the  "A"  arrangement), 
with  a  full  liturgical  text. 

8  :  The  Dies  Irae  is  given  in  full  in  English  verse  : 

"  That  day  of  wrath,  that  direful  day 
Shall  all  the  world  in  ashes  lay, 
As  David  and  Sybilla  say. 

"  How  shall  poor  mortals  quake  with  fears 
When  the  impartial  Judge  appears 
Who  all  their  causes  strictly  hears  ! 

"  His  trumpet  sounds  a  dreadful  tone  : 
The  noise  through  all  the  graves  is  blown 
And  calls  the  dead  before  His  throne. 


Philadelphia  Choir  /looks  of    ijtji   and    /<¥/./       317 

"  Nature  and  death  shall  stand  and  gaze 
When  creatures  shall  their  bodies  raise 
And  answer  for  their  ill-spent  days,"  etc.1 

9  (p.  by)  :  Ps.  129  (De  Prof  unci  is)  in  Latin  and 
English. 

10  (p.  68;  in  "A",  p.  25):  "Sing  ye  praises  to  the 
Lord,  allelujah  ' .  The  tune  is  used  to-day  by  Hymns 
Ancient  a?id  Modern,  and  the  English  Hymnal  (the 
best  of  present-day  Anglican  hymnals)  for  the  hymn  : 
"Jesus  Christ  is  risen  to-day,  alleluya !  "  The  splendid 
tune,  found  first  in  Lyra  Davidica,  A  Collection  of  divine 
songs  and  hymns  (London,  1708)  has  been  sometimes 
ascribed  to  H.  Carey. 

11  (p.  69;  "A",  p.  27):  "Psalm  CIV"  (really  a 
translation  of  Ps.  ciii  of  the  Vulgate),  but,  unlike  ''A", 
now  in  three  parts  or  voices. 

1  I  should  be  much  pleased  to  learn  the  source  of  this  version.  It  is 
not  known  to  Mr.  Warren,  whose  work  on  the  Dies  Irae  (London, 
1902,  170  pages)  gives  the  first  lines  of  135  versions  into  English  by- 
English  and  American  authors.  The  translation  reappears  in  Hoer- 
ner's  Manual  of  Catfwlic  Melodies,  but  with  a  slight  alteration  in  the 
first  stanza  : 

"  That  day  of  wrath,  that  direful  day 
Shall  in  the  heavens  the  cross  display. 
And  all  the  world  in  ashes  lay. 

"  How  shall  poor  mortals  quake  with  fears 
When  their  impartial  judge  appears, 
Who  all  their  causes  strictly  hears,"  etc. 

This  is  a  rendering  of  the  corrupted  text : 

Dies  irae,  dies  ilia. 
Cruris  cxpandens  vexilla. 
Solvet  saeclum  in  favilla. 


for  the  original 


Dies  irae.  dies  ilia. 
Solvet  saeclum  in  favilla. 
Teste  David  cum  Sybil  la. 


318  American  Catholic  Historical  Society 

12  (p.  70),  three-voice  harmony  to  "  Grateful  notes 
and  numbers  bring"  ("A",  p.  98). 

J3  (p-  73)  '•  Jesu  dulcis  memoria  (in  English  transla- 
tion), but,  unlike  "A"  (p.  39),  now  in  13  stanzas  of  4 
lines  each;  but  the  last  is  in  five  lines : 

"Then  I'll  forever  Jesus  sing, 

And  with  the  saints  rejoice ; 
And  both  my  heart  and  tongue  shall  bring 
Their  tribute  to  my  dearest  King 
In  never-ending  joys." 

14  (p.  74 ;  in  "  A  ",  p.  36) :  "  The  wonders  which  God's 
laws  contain  ". 

15  (p.  79;  in  "A",  p.  61);  "This  is  the  day". 

16  (p.  84;  "A",  p.  29):  "The  Easter  Hymn"  (now 
differently  spaced). 

17  (p.  85;  in  "A",  p.  66J:  "Sing  to  the  Lord"  etc. 

18  (p.  87;  in  "A",  p.  68):  "Lift  up  your  gates"  etc. 
From  this  point  onwards  both  volumes  fairly  agree  in 

the  order  of  inclusions.  The  engraving  is  entirely  new, 
however;  and  the  word  "  Seraphims  "  (in  "A":  "Let 
the  bright  Seraphims"  etc.)  is  "Seraphim". 

1  may  mention  some  further  inclusions,  although  what 
has  been  sufficiently  demonstrated  is,  I  think,  the  variant 
character  of  this  new  edition,  and  its  very  large  improve- 
ment in  arrangement,  as  well  as  in  fulness. 

Pages  1 51-154  give  the  O  Esca  Viatorum  in  Latin; 
154-157,  the  Jesu  Dulcis  Memoria  in  Latin;  157-159,  the 
O  Jesu  Deus  Magne  etc.;  160,  the  first  stanza  of  the  O 
Salutaris  (in  Latin);  163,  the  Asperges  (to  a  tune  fre- 
quently used  to-day);  165-179,  a  modern  Mass  in  com- 
plete liturgical  text;  and,  finally,  180,  181  (where  the 
volume  ends),  "O  allerhoechste  Speise  ",  with  German 
text.  What  I  have  noticed  in  this  paragraph  are  addi- 
tions to  the  1787  volume.  Altogether,  the  improvement 
is  a  great  one  from  the  standpoint  both  of  the  liturgist 


Philadelphia  Choir  Books  of  1791  and   1814      319 

and  of  the  Catholic  choralist.  And  it  is  clear  that  John 
Aitken  went  to  considerable  expense  to  make  his  attrac- 
tively engraved  volume  acceptable  to  Catholics. 

The  Edition  of  1814 
John  Aitken  had  done  fairly  well  in  his  attempts  to 
meet  the  needs  of  Catholic  choirs.     But  now  we  descend 
to  a  much  inferior  piece  of  work,  in  large  quarto  form  : 

"A  collection  of/  Litanies,  Vespers,  /  Chants,  Hymns,  /  and  /  An- 
thems, /  As  used  in  the  Catholic  Churches  of  the  United  States.  /  A 
new  Edition,  /  carefully  revised  and  corrected  from  the  former  editions.  / 
Philadelphia  /  Published  and  sold  by  Charles  Taws,  at  this  music  store,  / 
No.  61,  South  Third-street.  /  1814." 

The  two  volumes  of  Aitken  were  engraved  ;  the  present 
volume  comprises  engraved  music  to  page  57  inclusively 
(which,  strangely  enough,  is  a  left-hand  page)  and  then 
begins  a  section  of  printed  (and  badly  printed)  music, 
from  page  57 — (this  is  a  right-hand  page,  facing  the 
engraved  page  57) — to  the  end  of  the  volume,  which 
occurs  at  page  87.  The  title-page  and  the  contents-page 
are  printed.  The  volume  is  perhaps  made  up  of  two 
editions  ;  but  whether  the  engraved  part  preceded  in  year 
of  issue  the  printed  part,  I  do  not  know,  It  will  be 
convenient,  for  purposes  of  comparison,  to  refer  to  the 
1791  book  as  "  B  "  (as  I  have  already  referred  to  the  1787 
book  as  "A").  I  note  the  following  in  the  1814 
volume : 

1  (pp.  1-8) :  "  The  Holy  Mass  of  the  Blessed  Trinity  ". 
It  is  the  same  as  in  "A"  and  "  B  ",  with  great  omissions 
of  the  liturgical  text  in  the  Gloria  and  in  the  Credo  ;  and 
the  humor  of  the  old  situation  is  revived,  for  this  "  Holy 
Mass  of  the  Blessed  Trinity"  omits  the  references  to  the 
Third  Person  of  the  Blessed  Trinity,  found  in  the  Gloria 
and  the  Credo  !  In  twenty-seven  years  (from  the  time 
of  the  1787  volume)  it  would  appear  that  no  responsible 


320  American  Catholic  Historical  Society 

person  had  noticed  the  immense  omissions  in  this  Mass, 
for  they  occur  again  in  this  edition,  which  is  declared  to 
be  "  carefully  revised  and  corrected  from  the  former 
editions". 

The  Mass  is  followed  by  "  Dominica  ad  Vesperas  ", 
which  section  has  only  the  "  Deus  in  adjutorium  meum 
intende"  (with  its  response),  the  Gloria  Patri  and  the 
Alleluia  (together  with  "  Laus  tibi,  Domine,  Rex  aeternae 
gloriae"):  but  has  no  psalms  or  any  other  part  of  Ves- 
pers, save  the  : 

2  (pp.  8-17):  Four  anthems  of  the  Blessed  Virgin. 

Following  this  we  have  : 

3  (p.  18):  "This  is  the  day  which  the  Lord  hath  made"  (in  "A", 
No.  20). 

4  (p.  20):  "  Sing  to  the  Lord  a  new  song"  (in  "  A  "  No.  21). 

5  (p.  21):  "  Lift  up  ye  gates  "  etc.  (in  "A",  No.  23). 

6  (p.  21):  "Sing,  sing"  etc. 

7  (p.  26);  "Praise  the  Lord"  etc.  (in  "A",  No.  49). 

8  (p.  27):  "I  will  glorify  thee,  O  God,  my  King"  (in  "A",   No. 
50). 

9  (p.  29):  Confitebor  tibi  Domine,  etc.  (as  in  "  B  ",  two  verses). 

10  (p.  31):  "  O  Deus  ego  amo  te  "  etc.  (in  "A  "  No.  51). 

11  (p.  32):  "O  anima  beata",  etc.,  (in  "A",  No.  19). 

12  (p.  33):  "  Benedicamus  Patrem  et  Filium  "  etc.  (in  "A",  No. 
46). 

13  (P-  36) :  "  Jesu  dulcis  memoria  "  (cf.  "  B  ",  No.  13). 

14  (p-  37)',  "  O  Jesu  Deus  Magne  "  (in  "  B  ",  pp.  I57-I59)- 

J5  (P-  39)"  "O  praise  ye  the  Lord,  laud  ye  the  name"  etc.  (in 
"A",  No.  28). 

16  (p.  39):  "  Praise  the  Lord,  Jerusalem"  etc.   (cf.  "A",  No.  49). 

17  (p.  40):  "  Let  the  bright  Seraphims  "  etc.  (in  "  A  ",  No.  3s). 

18  (p.  43):  "Praise  the  Lord  with  cheerful  noise"  (in  "A",  No. 

39  • 

19  (p.  45):  "  We  adore  and  worship  thee,  O  Christ  "  (in  "A  ",  No. 

31). 

20  (p.  46) :  "  Make  a  joyful  noise  "  (in  "  A  " ,  No.  30) . 

21  (p.  47):  "  Let  us  magnify  thee"  (in  "A  ",  No.  34). 

22  (p.  49) :  "  O  be  joyful  "  (in  "  A  " ,  No.  29) . 

^3  (P-  50:  "  O  praise  ye  the  Lord  "  (in  "  A  ",  No.  28). 

24  (p.  52):  "  King  of  kings,  Lord  of  lords"  (in  "A  ",  No.  25). 

23  (p.  54):  "  O  Salutaris  ",  one  stanza,  as  in  "  B  ". 


Philadelphia  Choir  Hooks  of   ijvi   and    1814       321 

-4  'p.  55):  "  Sing  ye  praises  to  the  Lord  "  (as  in  "  A  ",  No.  7). 

25  (p.  56):  "Grateful  notes"  etc.  (as  in  "  A  ",  No.  37). 

26  (p.   57):  "Jesu  dulcis  memoria "    (as  in   "  B",  one   stanza  of  8 
lines). 

27  (P- 57.  right-hand  side,   in  printed  music):  'Salve  Regina  "  in 
English  verse  (as  "  in  "  A  ",  No.  8). 

28  (p.  58) :  "  Komm  reiner  Geist ' '  (cf .  "A"  and  ' '  B  " ) . 

29  (PP-  58-59):  Six  settings  of  the  Litany  B.  V.  M. 

30  (p.  60):  "  Veni  Creator  "  in  Latin  and  English,  as  in  "  B  ". 

31  (p.  61):   "  Pange  Lingua  "  in  Latin  and  English,  as  in  "  B  ". 

32  (pp.  62-67):  The  psalms  of  Vespers,  the  Lucis  Creator,  Magnificat. 
Miserere,  all  in  Latin  and  English. 

33  (p-  67):  "Ave  Maria  "  as  in  "  A  ". 

34  (pp.  68-71):  Missa  pro  Defunctis,  with  the  Dies  lrae  in  full  Latin. 

35  (P-  72):  "  Dies  lrae  "  in  full  English,  as  in  "  B  ". 

36  (p.  72):  Psalm  129  in  English  and  Latin. 

37  (P-  73):  "  Psalm  CIV  "  (Ps.  ciii  in  Vulgate)  as  in  "  A  "  and  "  B  ". 

38  (p.  73):  "  The  wonders  which  God's  laws  contain  ",  as  in  "  A  '". 

39  (P-  75) :  "  Whilst  angels  to  the  world  proclaim  " ,  as  in  "  "A 

40  (p.  76) :  "  Young  men  and  maids  "  as  in  4i  A  "  and  "  B  ". 

41  (p.  77):  "  How  various  "  etc. ,  as  in  "A 

42  (p.  77):  "  Let  all  who  have"  etc. 

43  (P-  78):  "Through  all  the  changing"  etc.,  as  in  "  A  "  No.  32. 

44  (P-  79)-  the  Asperges,  as  in  "  B". 

45  (pp.  80-86):  "  In  die  solemni  Missa  " — a  modern  Mass,  in  full  litur- 
gical text. 

46  (p.  87):  *'  O  allerhoechste  Speise  ". 

Here  endeth  the  badly  built,  badly  printed,  badly  edited, 
volume  which  was  "  carefully  revised  and  corrected  from 
the  former  editions".  In  the  twenty-three  years  that 
elapsed  since  the  1791  volume  appeared  what  deteriora- 
tion in  typographical  taste  must  have  occurred  ! 

But  quite  apart  from  this  matter  of  ugly  print  versus 
good  engraving,  the  editing  of  the  1814  book  is  poorer 
than  that  in  the  1791  edition.  Thus  (as  the  contents  I 
have  cited  will  clearly  show)  the  rubric  or  title  "Domin- 
ica ad  Vesperas",  which  is  placed  immediately  after  the 
"Holy  Mass  of  the  Blessed  Trinity",  contains  nor 
the  psalms  under  it,  but  only  some  versicles,  respoi 
and   the  Gloria   Patri,  and    ia    forthwith   followed    by  the 


322  American  Catholic  Historical  Society 

four  seasonal  anthems  of  the  Blessed  Virgin.  After 
much  intervening  and  irrelevant  matter,  the  Vesper 
Psalms  appear  (see  above,  No.  32)  together  with  the 
Hymn  ("Lucis  Creator"),  the  Magnificat,  and  also  (but 
why  in  this  place?)  the  Miserere.  Similarly,  the  Bene- 
diction service  is  split  up,  one  stanza  of  the  O  Salutaris 
appearing  on  page  54  and  then,  after  much  intervening 
and  irrelevant  matter,  the  Pange  Lingua  being  given  on 
page  61.  A  closer  study  of  the  contents  will  show 
further  curious  inclusions  and  editorial  oversights.  As 
for  the  inclusions,  we  still  find  the  Protestant  translations, 
in  hymnal  form,  of  the  Psalms,  and  the  (apparently  Ang- 
lican) "  anthems ".  And  these  are  sandwiched,  appar- 
ently at  haphazard,  between  those  peculiarly  Catholic 
texts  (such  as  those  for  Mass,  Vespers,  Benediction) 
which  any  kind  of  careful  editing  would  have  placed  in 
close  juxtaposition  with  one  another. 

On  the  other  hand,  it  is  clear  that  the  editor  of  the 
1814  volume  had  at  hand  both  editions  of  the  "  Compila- 
tion" of  John  Aitken,  for  while  the  miscellaneous*  char- 
acter of  the  inclusions  and  their  haphazard  arrangement 
remind  us  of  the  1787  edition,  the  fuller  texts,  both  in 
Latin  and  in  English,  are  those  of  the  1791  edition. 
But,  finally,  the  editor  is  to  be  complimented  on  No.  45, 
the  Solemn  Mass  with  full  liturgical  text. 

It  is  of  bibliographical  interest  to  note  that  no  mention 
occurs  in  Finotti  of  any  of  these  Philadelphia  Catholic 
choir-books  of  1787,  1791,  1814. 

The  copyrighting  process  differed  in  the  case  of  John 
Aitken's  two  ventures  in  Catholic  music-publishing. 
The  1787  volume  bore  this  legend  : 

l,  James  Biddle,  Prothonotary  of  the  Court  of  Common  Pleas  of  Phila- 
delphia County,  do  certify  that  John  Aitken  hath  entered  in  my  Office 
according  to  Act  of  Assembly,  a  certain  book  published  by  him,  entitled 
"  A  Compilation  of  the  Litanies  and  Vespers  Hymns  and  Anthems  as 


Philadelphia  Choir  Books  of  1791  and   1814      323 

they  are  sung  in  the  Catholic  Church,   adapted  to  voice  and  or^an'' 
containing  130  pages  in  quarto.     Witness  my  hand,  this  8th  April,  1788. 

James  Biddle.  Prot. 

The  1791  volume  claims  copyright  as  follows: 

District  of  Pennsylvania,  to  wit : 

Be  it  remembered  that  on  the  twenty-fifth  day  of  November  in  the 
sixteenth  year  of  the  Independence  of  the  United  States  of  America, 
John  Aitken,  of  the  said  District,  hath  deposited  in  this  Office  the  title 
of  a  Book,  the  Right  whereof  he  claims  as  Author  in  the  words  follow- 
ing, to  wit : 

A  Compilation  of  the  Litanies,  Vespers,  Hymns  and  Anthems  as  they 
are  sung  in  the  Catholic  Church. 

We  notice  here  that  the  claim  set  forth  by  John  Aitken 
that  he  is  the  "Author"  seems  to  follow  the  curious 
custom  of  the  eighteenth  century,  in  virtue  of  which  the 
word  "author"  was,  in  several  connections,  used  where 
we  to-day  should  use  the  word  "compiler".  For  John 
Aitken  was  not  the  author  of  the  texts,  some  of  which  I 
have  already  pointed  out  specifically  as  the  work  of  Isaac 
Watts,  Wrilliam  Dodd,  etc.  There  is  no  reason  to  think 
that  he  composed  any  of  the  music.  But  as  he  published 
the  volume,  he  was,  in  the  sense,  its  "author''  or  "pro- 
ducer". [He  frankly  styles  his  choir- book  a  "Compila- 
tion" in  both  of  its  editions  (1787  and  1791).]  He 
does  not  claim  right  as  "author"  in  the  1787  volume; 
and  it  may  be  that  he  had  a  musician  provide  the  third 
voice  in  the  harmony  for  the  1791  volume,  and  could 
thus  claim  special  proprietorship  of  that  volume. 

The  1814  volume,  published  by  Charles  Taws,  gives 
us  a  new  title,  just  as  the  title  of  the  1791  book  differed 
from  that  of  the  1787  volume:  "A  Collection  of  Lit- 
anies, Vespers,  Chants,  Hymns,  and  Anthems,  as  used  in 
the  Catholic  Churches  in  the  United  States.  A  N 
Edition,  carefully  revised  and  corrected  from  the  former 
editions."  What  these  former  editions  were,  I  do  not 
know.     The  first  two  editions  were  those,  doubtless,  of 


324  American  Catholic  Historical  Society 

1787  and  1 79 1,  of  which  the  latter  was  obviously  a  care- 
fully revised  edition  of  the  former.  But  the  1814  edition 
of  Taws  shared  some  of  the  careless  editing  of  the  1787 
edition.  Possibly  his  claims  of  revision  and  correction 
are  based  on  musical  misprints.  I  have  not  made  it  part 
of  my  present  business  to  compare  the  various  musical 
editings,  however.  My  main  interests  were,  first,  the 
substance  of  the  texts  used,  and  then  their  arrangement 
for  use  by  a  Catholic  choir. 

With  respect  to  the  substance  of  the  texts,  I  have 
already  noted  in  my  previous  article  the  obviously 
Protestant  character  of  some  of  them.  The  "  anthems  " 
have  quite  disappeared  from  our  choir-books,  and  I  think 
that  all  of  the  disputable  hymns  have  also  disappeared 
from  our  use.  I  was  curious  to  discover  how  many  of 
the  hymnal  texts  of  the  1787  and  1791  and  1814  volumes 
survived.  The  beautifully  printed  Manual  of  Catholic 
Melodies,  or  a  Compilation  of  Hymns,  A?ithems,  Psalms, 
etc.  With  Appropriate  Airs,  and  Devotional  Exercises 
for  the  Ordinary  Occasions  of  Catholic  Piety  and  Wor- 
ship which  was  edited  by  the  Rev.  James  Hoerner  and 
was  published  in  1843  at  Baltimore  by  John  Murphy,  still 
preserved  the  following  texts  (whose  numbering  I  gave 
in  my  previous  article)  : 

No.  5:  O  Great  Creator  of  the  Light. 

No.  7:  Sing  ye  praises  to  the  Lord. 

No.  8:  Hail  to  the  Queen  who  reigns  above. 

No.  9:  My  soul  thy  great  Creator  praise. 

No.  ex:  Young  men  and  maids  (but  textually  changed  somewhat). 

No.  15:  The  wonders  which  God's  laws  contain. 

No.  16:  Jesus,  the  only  thought  of  thee. 

No.  24  :  How  various,  Lord,  thy  works  are  found. 

No.  27:  Let  all  who  would  God's  goodness  (first  line  changed). 

No.  37:  Grateful  notes  and  numbers  bring. 

In  Hoerner,  No.   27  reads:   "Let  all   who  have  God's 


Philadelphia  Choir  Books  of  Ifpi  and    1X14      325 

goodness  proved."     Similarly,  No.  11   begins:  "Young 
men  and  maids,  rejoice  and  sing." 

Cunningham's  Hymn  Book  was  published  in  1854  in 
Philadelphia.  I  find  in  it  only  Nos.  9,  11,  l6  and  37. 
Nos.  II  and  16  are  of  Catholic  authorship.  Differently 
translated  from  the  original  Latin  texts  of  O  filii  ct  filler 
and  Jesu  dulcis  mcmorla  respectively,  they  are  still  found 
to-day  in  our  hymnals.  I  think  that  numbers  9  (by  Rev. 
Isaac  Watts)  and  37  (by  Rev.  Wm.  Doddj  have  quite 
disappeared.  In  my  article  on  A  Philadelphia  Choir 
Book  of  1787  in  the  Records  for  September,  191 5,  1 
was  able  to  identify  (page  220)  four  of  the  hymns  as  of 
Protestant  authorship.  I  can  now  add  another  to  the 
list,  for  No.  24  ("  How  various,  Lord,  thy  works  are 
found")  is  Part  II.  of  Tate  and  Brady's  translation  of 
''Psalm  CIV"  ("Bless  God,  my  soul;  Thou,  Lord, 
alone").  In  our  Vulgate,  this  Psalm  is  number  Oil. 
See  my  comment  on  hymn  No.  9  ("  My  soul,  thy  great 
Creator  praise")  by  the  Rev.  Isaac  Watts,  who  is  con- 
sidered to  be  the  founder  of  English  Protestant  hymnody. 

I  have  not   been  able  to  determine  the  authorship  of 
these  hymns,  therefore  : 

No.     1:  While  angels  to  the  world  proclaim. 

No.    6:  Sing  ye  praises  to  the  Lord. 

No.  15:  The  wonders  which  God's  laws  contain. 

No.  27:  Let  all  who  would  God's  goodness  prove. 

No.  39:  Praise  the  Lord  with  cheerful  doi 

No.  48:  This  solemn  feast  our  joyful  songs  inspire. 

\n  interested  correspondent  writes   me  that  "some  of 

the  hymns  and  anthems  in  the   Catholic   Choir    Book  of 
1787  are  in   a   Col  led  ion  of  Psalm   Tunes  for  the  use  of 
the   united    churches   of  Christ    Church  and    St.    f\\ 
Church,  Philadelphia,   published  in    1763."      In   resj 

of  this  claim  I    have  to   remark,  first,  that    the  1703  vol- 
ume referred  to  doe-  not  contain  any  "anthems"  (in  the 


326  American  Catholic  Historical  Society 

sense  in  which,  in  my  former  article,  I  used  the  word 
"anthems,"  that  is,  prose  texts).  It  gives  in  all  only 
thirty-six  tunes,  to  eleven  of  which  texts  are  given.  Of 
these  eleven  texts,  only  three  are  found  in  our  1787 
book.  In  comparing  the  melodies  set  to  them,  in  either 
volume,  I  find  that  the  1787  volume  gives  variant  forms 
of  the  tunes  in  two  instances  (namely,  "  Sing  we  praises 
to  the  Lord,"  and  "Through  all  the  changing  scenes  of 
life").  The  third  hymn  ("  My  soul,  thy  great  Creator 
praise")  gives  the  same  melody  as  the  1763  book.  It 
seems  clear,  therefore,  that  the  1763  book  was  not  either 
the  source  or  a  source  for  the  1787  book.  For  only 
three  of  its  texts  are  taken,  while  two  of  the  tunes  are 
in  variant  forms  (indicating  a  different  source). 

I  have  to  thank  Dr.  W.  H.  Grattan  Flood  for  his 
kindness  in  pointing  out  to  me,  in  an  interesting  letter, 
that  the  translation  of  the  Salve  Regina  ("Hail  to  the 
Queen  who  reigns  above"),  quoted  on  page  212  of  the 
Records  for  September,  1915,  is  in  the  primer  of  1685, 
while  the  translation  of  the  O  Filii  et  Filiae  which  I 
quoted  on  pages  212-213  of  the  same  issue  of  the  Rec- 
ords is  a  variant  of  the  hymn  found  in  the  Evening 
Office  of  1748. 

Before  taking  leave  of  John  Aitken,  I  should  perhaps 
gratify  my  readers  with  a  quotation  from  the  Index  to 
Mr.  O.  G.  Sonneck's  excellent  Bibliography  of  Early 
Secular  Music  (Washington,  1905;  printed  for  the 
Author  by  H.  L.  McQueen)  :  "Aitken  (Aitkin),  John. 
To  be  traced  as  music  engraver  at  Philadelphia  as  early 
as  1787,  as  music  publisher  beginning  with  1797.  The 
'  Musical  Repository,  96  North  Second,'  appears  first  in 
the  Directory  of  1807.  After  1799  until  1806,  he  lived 
at  33  South  Second  St.,  before  1800  at  various  numbers 
in  the  same  street."  Confining  his  attention  to  secular 
music,  Mr.   Sonneck  was  apparently  not    aware    of   the 


Philadelphia  Choir  Books  of   ijcji  and  1814      327 

publication  by  Aitken  of  the  17S7  choir  book,  for  he 
notes  him  ''as  music  publisher  beginning  with  1797" — 
that  is,  ten  years  later.  Our  interesting  Choir  Book  of 
1787,  therefore,  places  Aitken  as  publisher  at  least  as  far 
back  as  1787,  and  its  bibliographical  value  is  thus  en- 
hanced. Those  readers  who  may  be  interested  in  tracing- 
some  of  the  secular  publications  or  engravings  of  Aitken 
should  look  up  the  Index  to  Mr.  Son  neck's  volume. 
One  of  his  engravings  bears  the  legend:  "J.  Aitken 
sculpt."  Still  another  is  signed :  "  J.  Aitken,  Sen.," 
from  which  we  may  judge  that  he  had  a  son  bearing  the 
same  Christian  name.  That  he  was  a  Scotchman  (as  a 
correspondent  assures  me),  may  possibly  be  deduced 
from  his  editorship  of  the  Scots  Musical  Museum,  adver- 
tised in  January,  1797,  as  "  just  published  and  to  be  sold 
at  the  bookstores  .  .  .  and  by  John  Aitken,  the  editor, 
no.  193,  South  Second  Street,"  Philadelphia.  That  he 
an  "amateur  musician"  is  a  point  of  some  import- 
ance in  connection  with  his  labors  on  the  1787  and  the 
1 791  volumes.  It  is  asserted  by  the  same  correspondent, 
and  might  be  inferred  reasonably,  doubtless,  from  Ait- 
ken's  editorship  of  the  Scots  Musical  Museum  and  from 
his  various  sacred  and  secular  musical  engravings  and 
publications. 

But  one  remark  remains  for  me  to  make,  namely,  that 
the  various  editions  of  Aitken's  Compilation  and  of 
Hoerner's  Manual  are  now — so  little  have  they  affected 
our  Catholic  hvmnodv— as  if  they  had  never  been. 

U.  T.  Henry. 


EPISTLE  OR  DIARY  OF  THE  REVEREND  FATHER 
MARIE  JOSEPH  DURAND1 


TRANSLATED  FROM  THE  FRENCH  BY  ELLA  M.  E.  FLICK 


Introduction 

In  1803  a  number  of  French  refugee  Trappists  came  to 
America  with  a  view  of  making-  a  foundation.  The  colony 
was  headed  by  Pere  Urban.  After  spending  a  short  time  in 
different  places  in  the  eastern  part  of  the  United  States  they 
went  to  the  Mississippi  Valley.  In  1805  they  were  joined  by 
a  second  delegation,  headed  by  Father  Marie  Joseph.  In 
181 5  most  of  the  surviving  out  of  the  two  companies  that 
had  come  over,  went  back  to  France.  Father  Marie  Joseph 
remained  for  a  while  in  the  West,  but  in  1820  he  too  returned 
to  France.  When  the  rest  of  the  Fathers  started  for  France 
in  18 1 5,  Father  Vincent  de  Paul  accidentally  was  left  behind 
in  Canada,  whence  his  colleagues  departed,  and  he  founded  a 
house  there  which  has  continued  up  to  the  present  day.  * 

After  returning  to  Europe  Father  Marie  Joseph  made  a 
written  report  in  French  to  his  Abbot  about  his  trip  to 
America.  This  report  was  printed  in  France  along  with  a 
report  made  by  Pere  Vincent  de  Paul  concerning  the  founda- 
tion in  Canada. 

In  1886  a  printed  copy  of  these  two  reports  was  found  in 
Canada.  Father  Vincent  de  Paul's  report  was  at  that  time 
translated  by  Miss  A.  M.  Pope  and  published  in  pamphlet 
form.  Father  Marie  Joseph's  report  was  copied  from  the 
printed  book  for  the  American  Catholic  Historical  Society  and 
a  translation  of  it  is  now  published  for  the  first  time. 

L.  F.  F. 

1  The  surname  of  Father  Marie  Joseph  is  taken  from  a  foot-note  in  the 
the  October  number  of  the  Catholic  Historical  Revieiv  on  Bishop 
Flaget's  report  to  the  Holy  Father. 


You  can  aid  the  American  Catholic  Historical  Society  in  its  work 


The  American 
Catholic  Historical  Society 

requests  gifts  of  written  chronicles,  memoirs,  diaries,  genealogies,  parish 
registers,  historical  paintings,  engravings,  views,  early  Catholic  newspapers, 
pamphlets,  portraits  of  priests,  sisters  and  churches,  relics,  coins,  by-laws 
and  constitutions  of  Catholic  societies,  reports  of  Catholic  institutions,  Uni- 
versity and  college  catalogues;  also 

American  Catholic  Quarterly  Review,  1900- 1 9 14. 

Fortnightly  Review,  St.  Charles,  Mo.,  June  1,  1912,  October  15,  1913,  April 

1,  October  15,  1914. 
Mosher's  Magazine,  August,  September,  1900,  January,  February,  March, 

April,  June,  September,  1901,  October,  1902,  February,  1905. 
Champlain  Educator,  August,  1903,  March,  August,  1904,  April,  May,  June, 

1905,  all  of  1906  to  end  of  publication. 
Lambing' s  Historical  Researches. 
Griffin's  American  Catholic  Historical  Researches,  October,  1901,  and  any 

other  numbers. 
Donahoe's  Magazine,  September,  1893,  January,  1902. 
Maine  Catholic  Historical  Magazine,  July,  August,  October,  1913,  January, 

February,  April,  May,  1914. 
Ave  Maria,  January  to  June,  1895,  Vol.  40,  and  January  11,  1896. 
Clinch,  J.  B.    California  and  Missions.     Vol.  2. 
Flynn,  History  of  Catholic  Church  in  New  Jersey. 
Baltimore,  Catholic  Review,  Vol.    I,  January  10,  February  7,  March  21, 

April  18,  May  9,  16,  August  1,  8,  15,  September  12,  1914  and  January  30, 

1015- 
Magazine  of  American  History,  first  four  volumes  and  any  others. 
Gil  low.  Jos.    Biographical  Dictionary  of  the  English  Catholics.     Vol.  IV, 

and  all  after. 

Ar  uhivum  Hibernicum,  published  by  the  Record  Society,  St.  Patrick's  Col 

lege,  Maynooth,  Ireland.    Vols.  I  and  III. 
First  volume  of  National  Conference  of  Catholic  Charities. 
Shea's  Library  of  American  Linguistics,  Nos.  2  and  4. 
Seminary  of  St.  Charles  Borromeo.    Reports  before  1842.    Also  for  1855, 

1864,  1881,  1882,  1903,  1904,  1005,  1906,  1913,  1914. 
O'Hanlon's  Lives  of  the  Irish  Saint*.    Vol.  for  September  and  October. 

FOR  SALE 
Catholic  World.     Vols.  I  to  1008. 

by  purchasing  from  Advertisers  in  the  Records. 


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